Terence Morris
Forum Replies Created
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It does appear there is no easy answer to this, having read around further, and given the null response. Metadata is a great idea, but in this implementation the underlying assumption is that all my footage is equivalent and potentially usable in any project. Yes, it is, but I still want a draw for underwear, another for socks…
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This is becoming a monologue! I thought I’d share this anyway. I decided to try Cubase to record and edit the VO and then import to FCPX. This has proved to be a lot more efficient, both time-wise and for workflow. I won’t be going back to the old way in a hurry, except for the occasional brief commentary.
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I should explain: When I do voiceover and it’s a bad take, what I would like to do is simply delete the clip instantly – in it’s entirety – and carry on. To do this it seems I have to highlight the audio clip on the timeline, reveal the event in browser, delete the timeline clip, then move the event to trash. If I did all this I would loose my flow. So I just cmd-Z, do retakes and the unused events pile up. If anyone knows a simpler way around this…
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This not being able to identify unused clips is a nightmare if you do a lot of voiceover. I have projects where I have numerous takes of audio and maybe used just a few, some of which I turned into compound clips. Gets very complicated! There are also stills and clips that I have used in more than one project. I’m too scared to try the project duplication scenario, just in case in the aftermath I discover I have inadvertently deleted an event that was used in another project. This really needs a fix of some sort.
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Thanks for that, John. I’ve thought about getting a Spyder on and off. It’s something I’ll consider once I’ve got a few other pieces of the puzzle in place (I’m in the process of upgrading to a PMW 200 system). Anyway, you’ve quelled my anxiety somewhat. I had been reading in various threads that since different image parameters on the PA246Q are switched off in given modes, plus a certain “non-linearity” of onscreen controls could make user calibration problematic – all rather confusing for me in the end. (I was almost swayed from my purchase, but there’s not much else at this price-point except the Dell u2410.) Your Spyder protocol would I guess generate an icc profile in the PC, which overlays any monitor driven parameters. It’s reassuring to get practical feedback from a professional video-editing perspective and I very much appreciate your input.
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Hi John,
I’ve just ordered one of these, so I’ve been digging into the manual. I was wondering what colour gamut you use it at for video editing. Most of my stuff ends up for web viewing and I guess sRGB would be ideal for that. But I occasionally make clips intended for TV viewing. Thanks for any thoughts you might have.
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Hi Karen,
Fantastic! I see how that works, plus I have learnt some new tricks. Thanks 🙂
The slip feature is actually a much better implementation than in Vegas as you can slip one frame at a time. Very accurate.
One last minor question: At the moment I use keys: “Shift\” to play IN to OUT, which is just about equivalent to the Vegas loop button. Is there any kind of mouse button equivalent to this command in Final Cut? I’m such a mousey person it seems!
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Hi Patrice – I appreciate you responding:
I just put it into trim edit (Cmd+7) and the play head repositions to the end of the clip each time rather than cycling between markers. And the moment I select a clip while it is playing, it dumps me out of trim mode.
Like I say, there must be fundamental differences in Vegas vs FC work flow, and I’m not getting what the trim mode is doing. What I am trying to do (as in Vegas) is to shift around the soundtrack while cycling a region within a clip (not at the end). I really need to work through the manual (and will eventually).
So, approaching this from the other end, in FC – let’s say this is your task and you want so shift an audio event in the timeline to sync to a video event, what is best routine?
If you (or anyone) can point up a standard protocol or step me though it themselves, I would be forever grateful!
BTW, I really have searched around for a solution (including the manual) , perhaps without knowing some crucial key words/ concepts.
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Hi Jerry,
We seem to be on a different page, but thanks for your input. Put it down to my lack of clarity perhaps.
In fact you have just re-stated my last response:
“The option I refer to is under Options>Preferences>Preview Device: In the pop-up dialog is a tick box for Use Color Management, which when selected gives a further option to Use Studio RGB and a drop down for the Color Monitor Profile.”
And:
“…I have selected the same gamma corrected monitor profile I use under Windows management.”
So I’m not sure why you think I’m choosing a different color profile for my monitor.
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The option I refer to is under Options>Preferences>Preview Device: In the pop-up dialog is a tick box for Use Color Management, which when selected gives a further option to Use Studio RGB and a drop down for the Color Monitor Profile.
At the moment I have Studio RGB selected as this appears to be what DVD rendering expects (from my limited and probably defective knowledge) and I have selected the same gamma corrected monitor profile I use under Windows management “because it is there”. But I’m not clear at all on the system architecture of how these elements are being put to use.
Point taken about PC color management not feeding into the final print. I would at least like to be in the ballpark however. As insurance, at the moment I am rendering short sample clips of my project to view on my TV. A lot of running back and forth as you can imagine, but a worthwhile reality check.